DOCSLIB.ORG

Honegger Pastorale D’Été Symphony No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Honegger Pastorale D’Été Symphony No HONEGGER PASTORALE D’ÉTÉ SYMPHONY NO. 4 UNE CANTATE DE NOËL VLADIMIR JUROWSKI conductor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR NEW LONDON CHILDREN’S CHOIR 0058 Honegger booklet.indd 1 8/23/2011 10:24:50 AM HONEGGER PASTORALE D’ÉTÉ (SUMMER PASTORAL) Today the Swiss-born composer Arthur of birdsong on woodwind place Honegger Honegger is often remembered as a member more amongst the 19th-century French of ‘Les Six’ – that embodiment of 1920s landscape painters than les enfants terribles. Parisian modernist chic in music. How unjust. From this, Pastorale d’été builds to a rapturous It is true that for a while Honegger shared climax then returns – via a middle section some of the views of true ‘Sixists’ like Francis that sometimes echoes the pastoral Vaughan Poulenc and Darius Milhaud, particularly Williams – to the lazy, summery motion of when they were students together at the Paris the opening. Conservatoire. But even from the start he Stephen Johnson could not share his friends’ enthusiasm for the eccentric prophet of minimalism and Dadaism, Eric Satie, and he grew increasingly irritated with the group’s self-appointed literary SYMPHONY NO. 4 apologist, Jean Cocteau. It was soon clear that, despite the dissonant, metallic futurism of By the time Honegger came to write his Fourth works like Pacific 231 (1923), Honegger had Symphony in 1946, he was barely recognizable more respect for traditional forms and for as the former fellow traveller of the wilfully romantic expression than his friends could provocative Les Six. He had moved away from accept. Poulenc and Milhaud both dismissed any desire to shock or scandalize audiences: Honegger’s magnificent ‘dramatic psalm’ Le Roi instead, like Mozart, he strove ‘to write music David (‘King David’, 1923) as over-conventional. which would be comprehensible to the Pastorale d’été (‘Summer Pastoral’, 1920), is great mass of listeners and at the same time a far gentler work than any of those, yet its sufficiently free of banality to interest genuine warmly expressive melodic lines – without music lovers’. This can be seen particularly in a trace of the ironic distortion delighted in the cycle of five symphonies Honegger wrote by the young Milhaud and Poulenc – show between 1930 and 1951. The Third (Liturgique) immediately that Honegger is set on his own and the Fifth (Di tre re) in particular carry a path. The relaxed, slightly bluesy repeated powerful emotional narrative, coupled with figure that establishes the initial dreamy pace an almost cinematic immediacy, that at times suggests the influence of jazz, but the hints make one think of Mahler – a composer 0058 Honegger booklet.indd 2 8/23/2011 10:24:50 AM whose intense personal-dramatic style, heavily by the affection of dear friends for whom the charged with late romantic pathos, was the art of music still has importance.’ very thing Milhaud, Poulenc and Cocteau had set their face against most fixedly. Honegger wove specific tributes to Basel into the texture of the Fourth Symphony. The Fourth Symphony, however, is intentionally The central Larghetto, for instance, is based a less serious offering, and as its subtitle on a Swiss dialect folk song, ‘Z’ Basel a mim Deliciae Basilienses – ‘The delights of Basel’ Rhy’ (approximately, ‘In Basel, on my beloved – suggests, it is meant to entertain and Rhine’). Easier for the outsider to identify beguile the ear rather than to explore darker is the use of the medieval melody ‘Basler or more melancholic emotions. Honegger Morgenstreich’ – ‘Basel morning prank’ or ‘fun’, was responding to a commission from the which emerges jauntily on high woodwind influential conductor Paul Sacher, director of and glockenspiel at the finale’s final climax. the Basel Chamber Orchestra, and, as the title But what is much more striking is the element indicates, he intended to pay homage to the of new-found magic and sensuous richness orchestra’s home city and its cultural life in the in this work, achieved with an equally new music. But there was a more serious purpose level of sophistication. Honegger himself too, as Honegger recalled: acknowledged this, somewhat primly, when he wrote that the symphony ‘marks a definite ‘In the year of misfortune, 1946, we were living progress in craftsmanship, and contrasts well in a scarcely jubilant era. The governments of with what had gone before’. Like Messiaen the countries demanded that their subjects in his Turangalîla Symphony (also begun in pay for the consequences of the war. In the 1946), Honegger here offers his audience midst of this odious and stupid existence compensation for the prevailing drabness which was imposed on us, this symphony and deprivation of life in post-war Europe. brings hope, created by the prospect of The memory of such straightened times may temporarily escaping from this atmosphere, be faint today, but over half a century on this in my spending the summer in Switzerland music can still cause ‘delight’. [at Sacher’s home in Schönenberg], surrounded Stephen Johnson 0058 Honegger booklet.indd 3 8/23/2011 10:24:50 AM UNE CANTATE DE NOËL (A CHRISTMAS CANTATA) Honegger’s last major work was the modestly The organ takes over, with trumpet fanfares, titled Une Cantate de Noël (‘A Christmas to accompany the baritone soloist singing, Cantata’), composed in 1952–53 for the Basel also in French, the angel’s proclamation to Chamber Choir and its founder and conductor the shepherds of the birth of Christ. This is Paul Sacher. Suffering already from his last greeted by a quodlibet, or medley, of carols from illness, Honegger adapted the work from music different countries, in their original languages. that he had written early in the Second World The German ‘Es ist ein Reis entsprungen’, sung War for an abandoned project, a day-long by the children, is interleaved with the French Passion Play in the Swiss village of Selzach. ‘Il est né le divin enfant’, and counterpointed by The Cantata, first performed in Basel a week an exuberant Gloria. The German ‘Vom Himmel before Christmas 1953, is scored for solo hoch, ihr Engelein, kommt!’ takes over; then baritone, mixed choir, children’s choir, organ and ‘Il est né’ and ‘Vom Himmel hoch’ are smoothly orchestra, and sets a multilingual text. It traces combined with the German ‘O du fröhliche’ and a progression from dark despair to hope and the familiar Austrian ‘Stille Nacht’. joyful affirmation, before a final leave-taking. The baritone re-enters with the angel’s Latin After a slow introduction led by the organ, Gloria, interleaved with a solo treble singing the chorus enters over an ostinato bass, first the start of Psalm 117, the Laudate Dominum, wordlessly and then to Latin words from to its traditional plainchant melody – the Psalm 130, the De profundis. While the chorus source of the Lutheran Advent chorale ‘Wachet continues in wordless octaves at the same auf’, or ‘Sleepers, wake’. The whole Psalm of tempo, the orchestra takes off at double speed praise and rejoicing is then set in rhythmic in an angry march. A choral cry of ‘O come’ triple time, with the children’s choir and is expanded into a chordal setting in French trumpets adding the plainchant melody as a of the hymn ‘O come, o come, Emmanuel!’ Bachian descant, and a powerful concluding (divorced from its traditional melody), with the ‘Amen’. The orchestra follows this with another reassuring refrain sung by the children’s choir. ingenious quodlibet of carol melodies, which eventually breaks up into fragments before the organ brings the work to a quiet close. Anthony Burton 0058 Honegger booklet.indd 4 8/23/2011 10:24:50 AM HONEGGER UNE CANTATE DE NOËL Chorus 05 Ah ... Ah ... De profundis clamavi ad te, Domine; Out of the depths I have cried to thee, Lord; Domine, exaudi vocem meam. Lord, hear my voice. Ah ... Ah ... O viens! O come! O viens, o viens Emmanuel! O come, o come Emmanuel! En toi vit l’espoir d’Israel. The hopes of Israel reside in you. Nos lourdes fautes nous pleurons, We bewail our grievous faults, entends nos voix qui t’implorons. hear our voices that implore you. Children’s chorus Freu’ Dich, freu’ Dich, o Israel! Rejoice, rejoice, o Israel! Bald kommt, bald kommt Emmanuel. Soon shall come Emmanuel! Chorus O viens, parais lumière du jour O come, we await the dawn qui dois nous apporter ton secours. that will bring us your aid. Nous errons tous sans but ni fin, We are all aimless wanderers, O désigne nous le clair chemin. O show us the straight path. Children’s chorus Freu’ Dich, freu’ Dich, o Israel! Rejoice, rejoice, o Israel! Gekommen ist Emmanuel. Emmanuel is come. Baritone 06 Ne craignez point, Fear not, car je vous transmets une bonne nouvelle for I bring you good tidings qui apportera une grande joie: of great joy: Le Messie est venu sur la terre, The Messiah has come down to earth, 0058 Honegger booklet.indd 5 8/23/2011 10:24:50 AM dans une étable à Bethléem, in a stable at Bethlehem, vous trouverez couché you will find the Infant Jesus dans une crèche l’enfant-Jésus. lying in a manger. Children’s chorus Es ist ein Reis entsprungen A shoot has sprung forth aus einer Wurzel zart ... from a tender root ... Chorus (sopranos and tenors) Gloria in excelsis Deo ... Glory to God in the highest ... Chorus (mezzo sopranos and basses) Il est né le divin enfant, The divine infant is born, jouez hautbois, résonnez musettes ... play oboes, sound out pipes ... Children’s chorus Wie uns die Alten sungen, As our elders sang to us, aus Jesse kam die Art from the race of Jesse Mitten im kalten Winter In the midst of the cold winter wohl zu der halben Nacht.
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Music as Representational Art Permalink https://escholarship.org/uc/item/1vv9t9pz Author Walker, Daniel Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Volume I Music as Representational Art Volume II Awakening A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Daniel Walker 2014 © Copyright by Daniel Walker 2014 ABSTRACT OF THE DISSERTATION Volume I Music as Representational Art Volume II Awakening by Daniel Walker Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes to this dissertation; the first is a monograph, and the second is a musical composition, both of which are described below. Volume I Music is a language that can be used to express a vast range of ideas and emotions. It has been part of the human experience since before recorded history, and has established a unique place in our consciousness, and in our hearts by expressing that which words alone cannot express. ii My individual interest in the musical language is its use in telling stories, and in particular in the form of composition referred to as program music; music that tells a story on its own without the aid of images, dance or text. The topic of this dissertation follows this line of interest with specific focus on the compositional techniques and creative approach that divide program music across a representational spectrum from literal to abstract.
    [Show full text]
  • Musical Hybridization and Political Contradiction: the Success of Arthur Honeggerâ•Žs Antigone in Vichy France
    Butler Journal of Undergraduate Research Volume 7 2021 Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France Emma K. Schubart University of North Carolina, Chapel Hill Follow this and additional works at: https://digitalcommons.butler.edu/bjur Recommended Citation Schubart, Emma K. (2021) "Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France," Butler Journal of Undergraduate Research: Vol. 7 , Article 4. Retrieved from: https://digitalcommons.butler.edu/bjur/vol7/iss1/4 This Article is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Butler Journal of Undergraduate Research by an authorized editor of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER JOURNAL OF UNDERGRADUATE RESEARCH, VOLUME 7 MUSICAL HYBRIDIZATION AND POLITICAL CONTRADICTION: THE SUCCESS OF ARTHUR HONEGGER’S ANTIGONE IN VICHY FRANCE EMMA K. SCHUBART, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL MENTOR: SHARON JAMES Abstract Arthur Honegger’s modernist opera Antigone appeared at the Paris Opéra in 1943, sixteen years after its unremarkable premiere in Brussels. The sudden Parisian success of the opera was extraordinary: the work was enthusiastically received by the French public, the Vichy collaborationist authorities, and the occupying Nazi officials. The improbable wartime triumph of Antigone can be explained by a unique confluence of compositional, political, and cultural realities. Honegger’s compositional hybridization of French and German musical traditions, as well as his opportunistic commercial motivations as a Swiss composer working in German-occupied France, certainly aided the success of the opera.
    [Show full text]
  • Rachmaninoff Symphony No
    RACHMANINOFF SYMPHONY NO. 3 10 SONGS (ARR. JUROWSKI) VLADIMIR JUROWSKI conductor VSEVOLOD GRIVNOV tenor LONDON PHILHARMONIC ORCHESTRA SERGE RACHMANINOFF SYMPHONY NO. 3 Sir Henry Wood, writing in his autobiography My Life and conductor. If the public in Russia, Europe and America of Music (1938), predicted that Rachmaninoff’s Third recognised his gifts in all three branches of the profession, Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. he himself always regarded himself as a composer first If that has never really been the case, Wood’s further and foremost. If he also happened to be one of the finest assessment of the score does ring true: pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic ‘The work impresses me as being of the true Russian change in his life. With the onset and aftermath of the Romantic school. One cannot get away from the October Revolution, Rachmaninoff and his family felt beauty and melodic line of the themes and their logical compelled to emigrate. ‘Everything around me makes it development. As did Tchaikovsky, Rachmaninoff uses the impossible for me to work’, he wrote to his cousin and fellow instruments of the orchestra to their fullest effect. Those pianist Alexander Ziloti, ‘and I am frightened of becoming lovely little phrases for solo violin, echoed on the four solo completely apathetic. Everybody around me advises me to woodwind instruments, have leave Russia for a while. But where to, and how? And is it a magical effect in the slow movement.
    [Show full text]
  • OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
    OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Honeggerus 18/06/2004 09:44Am Page 8
    555974 bk HoneggerUS 18/06/2004 09:44am Page 8 dennoch sorgenvolles Thema wird eingeführt, zivilisierte Menschheit beschrieb. Das Hornthema kehrt Arthur alternierend zwischen Streichern und Holzbläsern. In nun mit einer Gegenmelodie in den Streichern zurück; seinem Verlauf entstehen neue Gestaltungselemente, anschließend folgt erneut das Marschthema und mit ihm vor allem in einer ausgesprochen anrührenden Episode der Höhepunkt des Werks: der von Blechbläsern und HONEGGER für Violinen und gestopfte Trompeten. Akkorde im Schlagzeug herausgehämmerte Marschrhythmus tiefen Bassregister des Klaviers lassen den zentralen explodiert in einem dissonanten Akkord des gesamten Höhepunkt vorausahnen, der sich stetig und entschieden Orchesters, bevor er in Stille versinkt. Aus diesem Symphony No.3 ‘Liturgique’ herausbildet, bevor er in der leidenschaftlichen Zusammenprall steigt eine expressiv-warme Melodie in Wiederkehr der ursprünglichen Thematik kulminiert. Bratschen und Celli hervor: der Wunsch der leidenden Es fehlt eine eigentliche Reprise, und sogar eine Menschheit nach Frieden. Während der Pacific 231 • Pastorale d’été • Rugby drohende weitere Klimax wird bewusst vermieden, Marschrhythmus noch immer leise in den Pauken wodurch der Satz in einem ruhigen, wenngleich offenen vernehmbar ist, erklingt noch einmal eine Reminiszenz New Zealand Symphony Orchestra Schluss wie mit einem Fragezeichen endet – noch der fragenden Elemente vom Ende des vorigen Satzes. verstärkt durch die Rückkehr des „Vogelthemas“ in der Das „Vogelthema“ in Piccoloflöte und
    [Show full text]
  • Of the Reader If Possible.” Check out His Blog – It's Great! “
    of the reader if possible.” Check out his Blog Britten, Tippett, Walton as they were writing – it’s great! their masterieces and being able to discuss “A lot of modern critics employ double them with the composers. I’ve met many of standards. If it’s a new piece they go for it, in the most famous musicians: Messiaen, Nono, the old days they’d have gone at it!” Stockhausen, Strauss.” Ever lighthearted John then told me a Meeting Richard Strauss face to face is criticism joke about Sarasate. “Sarasate last described as “one of the most climactic mom - Tuesday left all criticism behind him, as he did ents in my life”. “It was during the Beecham/ the orchestra.” Strauss Festival in Drury Lane. I was working Sir Thomas Beecham was also reported to for Beecham then and went to see him arriv - be quite a wit and a bit of a joker: wasn’t it ing at the same time as Strauss. The door was Dame Kiri te Kanawa Beecham, who, when asked if he had ever locked and Strauss turned and looked me conducted any Stockhausen, said, “No, but I straight in the eye and shouted loudly, “diese once trod in some.”? verdammen Tür”. I was too shocked to say efugees are grateful people and Georg Solti “Beecham only ever told me one joke in all anything. Fortunately someone came and Rnever forgot how many people helped him the years I worked for him, he needed to have opened it.” to get work with letters of recommend ation, an audience or an orchestra in front of him to “Stockhausen was an hour late for a TV including Arturo Toscanini with whom he had become entertaining.
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • Season 2013-2014
    23 Season 2013-2014 Thursday, February 13, at 8:00 The Philadelphia Orchestra Friday, February 14, at 8:00 Saturday, February 15, at 8:00 Vladimir Jurowski Conductor Vsevolod Grivnov Tenor Alexey Zuev Piano Sherman Howard Speaker Tatiana Monogarova Soprano Sergei Leiferkus Baritone Westminster Symphonic Choir Joe Miller Director Rachmaninoff/ Songs orch. Jurowski I. “Christ Is Risen,” Op. 26, No. 6 II. “Dreams,” Op. 38, No. 5 III. “The Morn of Life,” Op. 34, No. 10 IV. “So Dread a Fate,” Op. 34, No. 7 V. “All Things Depart,” Op. 26, No. 15 VI. “Come Let Us Rest,” Op. 26, No. 3 VII. “Before My Window,” Op. 26, No. 10 VIII. “The Little Island,” Op. 14, No. 2 IX. “How Fair this Spot,” Op. 21, No. 7 X. “What Wealth of Rapture,” Op. 34, No. 12 (U.S. premiere of orchestrated version) Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 I. Allegro vivace II. Largo III. Allegro vivace Intermission 24 Rachmaninoff The Bells, Op. 35 I. Allegro, ma non tanto II. Lento—Adagio III. Presto—Prestissimo IV. Lento lugubre—Allegro—Andante— Tempo I This program runs approximately 1 hour, 45 minutes. These concerts are presented in cooperation with the Sergei Rachmaninoff Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations.
    [Show full text]
  • Machine PROGRAM V8.Indd 1 10/4/15 6:46 PM Machine PROGRAM V8.Indd 2 10/4/15 6:46 PM Welcome to North Valley Symphony Orchestra’S 2015-16 Concert Season
    Machine PROGRAM v8.indd 1 10/4/15 6:46 PM Machine PROGRAM v8.indd 2 10/4/15 6:46 PM Welcome to North Valley Symphony Orchestra’s 2015-16 Concert Season North Valley Symphony Orchestra (NVSO) is a non-profit community- based orchestra made up of multi-generational musicians from the greater Phoenix north valley. NVSO aims to “build community through music” by providing a place for members to enjoy the collective art of making music, as well as offering enriching cultural experiences for Phoenix north valley audiences through pop and classical concerts. Sit back, relax and listen...as NVSO is proud to present... “Machine Madness” – Oct. 17th, 2015 Have you ever considered how many different depictions of machines there are in music? From Haydn’s stately Clock Symphony to Anderson’s comic depiction of The Typewriter, this concert will explore a variety of compositions inspired by machinery. The concert will include Adams’ Short Ride in a Fast Machine, Mancini’s Ohio Riverboat, and Honegger’s Pacific 231. NVSO Youth Orchestra will also perform Meyer’s Steampunk and Ploeger’s The Machine. Mark your calendars for the remaining concerts in our 2015-16 season: “Pop for the Holidays” – Dec. 5th, 2015 Invite your family, friends and neighbors for a delightful collage of our favorite music for the holiday season. Arrangements will feature Miracle on 34th Street, The Polar Express, You’re a Mean One, Mr. Grinch, and Christmastime is Here. There will be an appearance by Santa Claus, a friendly Christmas carol sing-along, and audience participation in the sleigh-bell and whip-crack sound effects during the iconic favorite, Sleigh Ride.
    [Show full text]
  • Website Bio Goldstein
    Alon Goldstein Artistic Director and featured performer at the Abby Bach Festival 2019 Alon Goldstein is one of the most original and sensitive pianists of his generation, admired for his musical intelligence, dynamic personality, artistic vision and innovative programming. He has played with the Philadelphia orchestra, the Chicago Symphony, the San Francisco, Baltimore, St. Louis, Dallas, Houston, Toronto and Vancouver symphonies, as well as the Israel Philharmonic, London Philharmonic, Los Angeles and Radio France Orchestra. He played under the baton of such conductors as Zubin Mehta, Herbert Blomstedt, Vladimir Jurowski, Rafael Frübeck de Burgos, Peter Oundjian, Yoel Levi, Yoav Talmi, Leon Fleisher and others. His 2018-19 season includes appearances with the Kansas City, Ann Arbor, Illinois, Spokane, Bangor, Augusta, and Pensacola Symphony Orchestras, as well as a performance of Beethoven’s Emperor Concerto on fortepiano with Mercury Houston. He will play in Mexico with the Xalapa Symphony Bernstein’s "Age of Anxiety” to celebrate the composer’s centennial, and perform the New Year’s concert with the Beijing symphony in China. He will also perform recitals and chamber music, including tours with the Goldstein-Peled-Fiterstein Trio, the Tempest Trio, and the Fine Arts Quartet at the Mendelssohn International festival in Hamburg Germany, as well as in Cleveland, Washington D.C., New York, Burlington, Key West, Sarasota, Melbourne, Duluth, and other cities. This season will also include a CD release of Mozart Piano Concerti Nos. 23 and 24 with the Fine Arts Quartet (a follow-up to their critically acclaimed recording of Nos. 20 and 21) and Scarlatti Piano Sonatas on the Naxos label.
    [Show full text]